Posts Tagged ‘oxford-history’
After Modern Art 1945-2000 (Oxford History of Art)
Modern and contemporary art can be both baffling and beautiful; it can also be innovative, political, and disturbing. This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.
Jackson Pollock, Jasper Johns, Yves Klein, Andy Warhol, Louise Bourgeois, Cindy Sherman, and Damien Hirst are among many artists discussed, with careful attention being given to the political and cultural worlds they inhabited. Moving along a clear timeline, the author highlights key movements such as Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art to explain the theoretical and issue-based debates that have provided the engine for the art of this period.
Art in China (Oxford History of Art)
The fine arts of China are often ignored by the Western world, from jade tablets, painted silk hand scrolls and fans to ink and lacquer paintings and calligraphy. Art in China offers a novel look and comprehensive examination of all aspects of Chinese art, including art found in tombs to the state-controlled art of the Mao Zedong era. 130 photos, 65 in color.
Northern Renaissance Art (Oxford History of Art)
This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe in the age of the Renaissance, from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces.
While many little-known works are foregrounded, Susie Nash also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception. Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.
